SCOTT 



253 



fray at Edinburgh by Kerr of Cessford, whilst the 

 other was the rescuer of Kinmont Willie from 

 Carlisle Castle (1596). Francis, the second earl 

 (1626-51), left only two daughters Mary (1647- 

 61 ), married at eleven to the young future Earl of 

 Tarras, and Anna (1651-1732), married at twelve 

 to James, Duke of Monmouth (q.v.), who took the 

 surname Scott, and was created Duke of liuccleiich. 

 After his execution in 1685 his duchess, who had 

 borne him four sons and two daughters, retained 

 her title and estates as in her own right. She 

 afterwards married Lord Cornwallis. Her grand- 

 son Francis succeeded her as second duke, and 

 through his marriage in 1720 with a daughter of 

 the Duke of Queensberry that title and large 

 estates in Dumfriesshire devolved in 1810 on Henry, 

 third Duke of Buccleuch (1746-1812), the pupil of 

 Adam Smith, and a great agricultural improver. 

 Walter Francis, fifth Duke (1806-84), was the 

 founder of Granton, and owned in Scotland 676 

 q. m. an area larger than that of half of the 

 sovereign states of the German empire. The 

 Harden branch of the Scotts ( represented now by 

 Lord Polwarth) separated from the main stem in 

 1346 ; and from the Harden branch sprang the Scotts 

 of Kaebnrn, ancestors of the greatest of all that 

 great line, Sir Walter. 



See Sir William Fraser, The Scottt of Buccleuch (2 

 volg. 1879); *nd Mm Oliver, Upper Ttviotdale and the 

 ScoUt of Buccleuch ( 1887 ). 



Scott, DAVID, R.S.A., a painter of distinct 

 originality and great imaginative power, was born 

 in Edinburgh on the 10th or 12th of October 1806. 

 He was a grave, silent boy, fond of drawing ; prob- 

 ably a copy of Blake's ' Illustrations to the Grave ' 

 was not without effect in influencing the especial 

 direction of his art. He studied in the Trustees' 

 Academy, under Andrew Wilson, and was appren- 

 ticed to hia father as a line-engraver. The im- 

 petus towards original work, however, was too 

 strong to be resisted, and he determined to devote 

 himself to painting. In 1828 be exhibited his first 

 picture, 'The Hopes of Early Genius dispelled by 

 Death,' in the Royal Institution, Edinburgh ; and 

 in the following year he was admitted a memlier 

 of the recently formed Scottish Academy. The 

 poetical subject of ' Adam and Eve Kinging their 

 Morning Hymn' dates from 1829; and in 1831 he 

 produced his vigorous personification of ' Nimrod 

 the Mighty Hunter,' and his rendering of 'The 

 Dead Sarpedon borne by Sleep and Death.' In 

 the same year he published six etched plates, ' The 

 Monograms of Man,' a series of profound symboli- 

 cal inventions, and designed his twenty-five ' Illus- 

 trations to the Ancient Mariner, ' etched and pub- 

 lished in 1837, which seize with a wonderful force 

 and intensity the weird conceptions of Coleridge's 

 grunt poem. In 1832 he visited Italy, and remained 

 in Koine for fifteen months, studying the old 

 masters, ami painting 'The Vintager,' now in the 

 National Gallery, and other works. His impres- 

 sions of the art of Italy were embodied in a series 

 of |.iipers published in BlackwootV s Magazine in 

 Is:)!) 41. In his twenty-eighth year he returned 

 to Edinburgh, and, amid much discouragement 

 from the almost complete want of popular sym- 

 pathy or interest in his work, he produced his 

 Alchemystical Adept (Paracelsus) Lecturing' 

 i I'vtsi. now in the National Gallery of Scotland; 

 Queen Elizabeth at the Globe Theatre' (1840); 

 and 'The Traitor's Gate' (1841), one of the 

 quietest, most impressive, and entirely satisfactory 

 of his paintings. The following year saw the com- 

 pletion of ' Vasco da Gama encountering the Spirit 

 of the Cape,' a colossal gallery work, over 16 feet 

 in length, now in the Trinity House, Leith. Mean- 

 while the artist's health had been failing, and the 

 want of appreciation hail been chilling him to the 



heart. Year by year his life became more with- 

 drawn and saddened, and he died before he had 

 reached the age of forty-three, on the 5th of March 

 1849. His forty designs to the Pilgrim's Progress, 

 executed in 1841, were published in 1850, and 

 eleven of his remarkable and daringly imaginative 

 Astronomical Designs, drawn in 1848, were en- 

 graved in an edition of Professor J. P. Nichol's 

 Architecture of the Heavens (1850). In spite of 

 their frequently hurried execution and consequent 

 faults of detail, Scott's works, on their technical 

 side, have much of the large and powerful draughts- 

 manship and of the rich and dignified colouring 

 that characterise the productions of the old masters. 

 Their highest value, however, lies in their imagina- 

 tive quality, in their power and originality as 

 inventions. In his own words, Scott ' always 

 judged painting by its sentiment, by its mental 

 bearing, and thought most of new spheres of 

 meaning. ' 



See the Memoir by his brother W. R Scott (Edin. 

 1850); Selections from his Works, edited by his brother 

 ( Glasgow, 1860-67 ) ; and the monograph by the present 

 writer (Edin. 1884). 



His brother, WILLIAM BELL SCOTT, painter and 

 poet, was born at St Leonards, Edinburgh, Sep- 

 tember 12, 1811, and was educated at Edinburgh 

 High School. He studied art both at Edinburgh 

 and London, settled in London in 1836, but ex- 

 liiliited only twenty pictures from 1840 down till 

 1869. The subjects of these were mostly historical 

 or poetical. From 1843 till about 1858 he lived at 

 Newcastle, in charge of the government school of 

 art there, and down till 1865 he acted as one of the 

 South Kensington examiners. His most important 

 work in painting was the series of eight large 

 pictures illustrative of Northumbrian history at 

 Wallington Hall, completed later by eighteen 

 pictures devoted to Chevy Chase in the spandrels. 

 He produced a similar series, illustrating The 

 Kin if i Quair, on the walls of a newel staircase 

 at Penkill Castle, near Girvan. Here he died, 

 November 22, 1890. He began early to write 

 poetry, and published Hades, an Ode (1838); The 

 Year of the World ( 1846) ; and the more important 

 Poems of a Painter (1854). Later volumes were 

 the carefully selected and revised Poems (1875), 

 and the genial and delightful little volume of a 

 hundred short pieces, A Poet's Harvest Home 

 (1882). To the literature of art he contributed 

 a Memoir of David Scott ( 1 850 ), Half -hour Lectures 

 on Art ( 1861 ), Albert Ditrer ( 1869), and The Little 

 Master.-: ( 1S79) in the 'Great Artists 'series. Seethe 

 Autobiography edited by Professor Minto (1892). 



Scott, SIR GEORGE GILBERT, architect, was 

 born on 13th July 1811, at Gawcott, Buckingham- 

 shire, of which his father, son of Thomas Scott, 

 the commentator, was perpetual curate. His edu- 

 cation was neglected, but he had a good drawing- 

 master ; and his love of old churches suggested his 

 being articled to a London architect (1827-30). 

 His first start in life was as a designer of work- 

 houses ( 1835) ; in 1838 he married a second cousin, 

 Caroline Olfrid ( 1811-72), who bore him five sons, 

 two of whom became architects ; and soon after he 

 built the first of several cheap and nasty churches. 

 His 'awakening, ' by the Cambridge Camden Society 

 and an article of Pugin's, was in 1840-41 ; and 

 thereafter, as a leading spirit of the Gothic revival, 

 he built or restored 26 cathedrals, 9 abbey and 2 

 priory churches, 1 minster, 474 churches, 26 schools, 

 5 almshonses, 23 parsonages, 57 monumental works, 

 10 college chapels and 16 colleges, 27 public build- 

 ings, 42 mansions, &c. The Martyrs' Memorial at 

 Oxford, St Nicholas' at Hamburg, St George's at 

 Doncaster, the new Government Offices, Albert 

 Memorial, and Midland Terminus in London, 

 Preston town-hall, Glasgow University, the chapel* 



